Fri May 27, 2011 4:19 pm
Fri May 27, 2011 5:34 pm
Fri May 27, 2011 6:31 pm
Fri May 27, 2011 7:37 pm
Sat May 28, 2011 2:26 am
suave eddie wrote:Unless I'm missing something I would think that no matter how high or low your action is, assuming you use the same pick attack, and there is no buzzing, your string would be vibrating the same.
Sat May 28, 2011 3:41 am
Dr B wrote:suave eddie wrote:Unless I'm missing something I would think that no matter how high or low your action is, assuming you use the same pick attack, and there is no buzzing, your string would be vibrating the same.
Actually - I'm not sure that's true. The string travels further with a higher action and the physicall forces and impacts to the neck wil be different (we are not talking huge differences - but different). So hammering on from things linke an open string to a fretted note would be different (for example).
Sat May 28, 2011 4:28 am
sirmyghin wrote:What you get with high action is bad intonation, not different tone.
Sat May 28, 2011 4:30 am
Dr B wrote:sirmyghin wrote:What you get with high action is bad intonation, not different tone.
I guess it all depends what you mean by 'high'. Mine has perfect intonation, but its got 'higher' action relatively speaking to my Tribute. However, it might still not be what you would describe as 'high'.
Sat May 28, 2011 4:43 am
Sat May 28, 2011 7:37 am
Dr B wrote:Good point
One of the things that has struck me is mow much I seem to be enjoying the higher action. Imagine the following scenario. I'm playing a solo and my first finger is on a low string (say A for the sake of discussion), straight after I need to play a high E string with my pinky for a big bend. To do these big bends I really need to get right on and even under the string. The higher action helps my hands get on the strings under scenario's like this and I am far more consistent with the higher action. The bends flow better.
So one thing is, I've had my eyes opened as to what my hands (now I can play alittle) might be best suited for. I used to default to a 'lower action is best cos things are easier' mode of thinking - I think that's over-simplistic.
Chords are fine to, at least so far
Sun May 29, 2011 3:53 pm
Dr B wrote:To do these big bends I really need to get right on and even under the string. The higher action helps my hands get on the strings under scenario's like this...
Mon May 30, 2011 3:35 am
Mon May 30, 2011 7:47 am
sirmyghin wrote:
One exercise I recommend, that is very good but quite difficult is to play some without your thumb on the neck. What this will do is really train your fingers to when a note is fretted. You may not have the issue, but a lot of players do where they overfret, slightly sharp notes, or just resign to playing on small frets so they can push to the fingerboard without any issues. G&Ls however, have big frets (they look identical to my other 6100 fretwire axes), so if you push hard the notes will sharp. This can be really good for training your finger to realize when a note is fretted, and not needing to go further as you will end up have the neck run away on you. As I said, you might already do this fret lightly/properly, but if you don't think will help your playing become a lot more fluid, because you aren't tensing muscles heavily. It is properly more important a skill with higher action, as you need to differentiate between string tension and feel more finely.